Tag Archives: You’ll Know It When It Happens

Having stirred up a hungry appetite for and acclaimed reaction to their fuzzy cauldron of sound that was debut album Wait For The Echo last year, UK trio LongFallBoots return with their new EP You’ll Know It When It Happens, the first part of a 2-EP cycle. It uncages five tracks infested with all the gripping attributes of the band’s full-length but carrying a dirtier and more ravenous character aligned to keener grooves and deliciously off-kilter invention. It is certainly more of the band’s renowned compelling infestation of the psyche yet it has a fresher nature and an even more invasively honed potency to its scuzz lined temptation.

LongFallBoots was formed early 2012 by friends Alex Caithness (KOSS, Cincinnati Bow Tie) and Ben Holdstock (Paralus, Cincinnati Bow Tie) when the other members of an intended project failed to turn up for rehearsal. Within two and a half hours the pair had written debut EP It Was Duke; its release coming in August of that same year, becoming the first in a run of six EPs across the next twelve months or so. First album Wait For The Echo was uncaged to potent acclaim in 2015, the pair of guitarist Caithness and drummer Holdstock joined by bassist Chris Childs and vocalist Amy Smith, who subsequently replaced Childs on bass and additional vocals in the band having previously played on the Good At Television EP. Now the trio have ripened their sound a little more to infest the senses further via You’ll Know It When It Happens, another startling proposal for ears and imagination to feast upon.

The EP opens with its title track and immediately roaming sizzling grooves are wrapping ears and the jabbing beats of Holdstock. The heat only accentuates as the full sonic wind of guitar and throaty bass collude around a great mix of raw and harmonic vocals from across the band. With the synth casting an even fuzzier breath around the appealing mix, antagonistic and impassioned sludge thick intensity ripens as too a darkly seductive flirtation with post punk devilry. It all makes for a swiftly gripping affair rife with unpredictability within flowing smog of invasive persuasion.

The track is also as infectious as a viral complaint, an irresistible quality as imposing in the following (We’re Gonna Have To Deal With) Gary. Noise rock meets scuzz punk with bedlamic rhythms and matching invention, the song is quite glorious. It quickly puts the excellent opener in the shade with its rousing kinetic dance and post-hardcore tempest, that alone revealing the fresh flavoursome twists of invention and adventure brewing within the band’s music. Flinging hooks and grooves around like a teenage dervish, song and band creates a sonic tempest to get lustful over before the band’s new single Executive Function saunters in with grooved hips and stoner-esque seducing around a rock ‘n’ roll heart. The mix of vocals again hugs and roars, their tempestuous nature fuelling every aspect of the mystique lined proposal. Subsequently a carnivorous bassline provides a predatory element to proceedings, Smith’s bait as primal and enslaving as floating harmonies are celestial and engaging. Bound in a web of searing enterprise from Caithness, the track is the third exhilarating and inescapable contagious trespass in a row.

The punk fury of Explosions descends on ears next, its volatile sonic outrage tempered by the siren-esque tones of Smith and in turn incited by the bracing vocal squalls of Caithness and Holdstock. The track brawls and flirts with the senses and ears respectively in its voracious way before In My Favour lays out its eventful landscape of raw calm, brewing antagonism, and intense angst soaked drama. It is a slow burn of a persuasion in comparison to its predecessors yet unveils another intrigue drawing and emotion rich twist to the EP and band’s songwriting that is so easy to enjoy.

The song is a fine end to You’ll Know It When It Happens, if without making the same intensive impact as the rest of the release. The EP as a whole just feeds an appetite already bred for the band’s last album whilst giving further confirmation that LongFallBoots creates fuzz spawned noise which does anything but annoy.

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